Wofl's complex 'liquid' acid patch




 * The 1v/Oct pitch cv is fed into a vc slew to give the portamento 'sliding' note sound. This is switched on and off by applying a cv to the slew on/off cv input. Use of a cv at the cv time socket allows slew time to be varied for larger pitch jumps.
 * One VCO provides a Square wave with the PWM morphed by an envelope - preferably with attack and decay times cv'ed to allow variation with pitch/note length or whatever.
 * Another VCO provides a Saw wave with the waveshape morphed by an envelope - preferably with attack and decay times cv'ed to allow variation with pitch/note length or whatever.
 * The audio from these VCO's is then fed into a vc mixer where another envelope morphs between them, preferably with attack and decay times cv'ed to allow variation with pitch/note length or whatever.
 * The signal from this mixer is then fed into a resonant LPF, with cutoff and resonance shaped by an envelope (or even separate envelopes) - again, preferably with attack and decay times cv'ed to allow variation with pitch/note length or whatever.
 * A slew signal from a Voltage Controlled Slope is also fed into the LPF with the attack and decay times cv'ed separately, you may need to experiment with exponential vs. linear slopes to get best effect.
 * A second envelope fed by the same gate signal as the filter envelopes shapes the note, dictated mostly by the length of note from the sequencer, though with cv control over attack and decay to add some interest (use of linear vca input keeps the sound more 'tight' and 'sequenced' sounding, log or exp. gives a more 'natural' or 'organic' or 'liquid' sound)



Tony from MakeNoise has kindly granted permission for the use of this annotated diagram of how to patch a channel of Maths as a voltage controlled slew for the acid patch - to achieve the on/off you can simply send enough voltage to the rise/fall cv ins to kill the slew effect.

the resulting sound is a very morphing, twisting but clean, hollow sounding acid timbre, with an immense degree of control, allowing great variations over each note in the sequence.


 * try sending different octaves or even entirely different pitches to the different VCOs to get interesting harmonic and other variations
 * with distortion and played at low frequencies a very 'rubbery', powerful bass can be made - even more fun if set to about 37% swing/shuffle to get the classic 'Hardfloor' acid bassline style...
 * if you haven't enough cv sources, try patching a buffered mult. of the pre-slewed 1v/oct to the slew up time/vcs or maths rise time and envelope attack times - higher notes will be shorter and slew quickler.
 * it can be nice to patch a little 1v/Oct into filter cutoff and res slao, to get some more open filter with higher notes, and/or or invert the 1v/Oct source to patch into the resonance cv, producing more hollownes at lower pitches.